Museums

as a Nucleus for Marketing

Cultural Quarters

and Vice VersaPresented by:

Professor: Adla Ragab Department of Economics

Assistant Professor: Dr. Nora Ebeid Department of Public Administration

Faculty of Economics and Political Science, Cairo University

Presentation OutlineI- Concept of a Cultural Quarter

• Definition , Description and Historical Background

II- Institutional Framework

• Management and Partnership Models

III- Financial Framework

• Funding and Marketing

IV- SWOT Analysis as a tool for bridging the cooperation gap

V- Cultural Quarters Success Indicators

VI- Egypt Case Study

VII-Lessons Learnt

I- Concept of a Cultural Quarter

- Definition:

A cultural district is a place gathering museums,art galleries, art studios, film education center,performing arts theater, restaurants, commercialvenues, fashion boutiques, sports activities, parks,business offices and residential areas.

I- Concept of a Cultural Quarter (cont.)- Description:• Diversity of primary and secondary land uses

• Links with universities and other education providers

• Availability of workspaces for artists and low-cost cultural producers.

• Small-firm economic development in the cultural quarter

• Built of : Fine - grain urban morphology…�

• A radius of around 400 metres, buildings averaging around 5 – 8 storeys,

with very few streets over 10 metres wide (including pavements).

• Permeability of streetscape… provide scope for many trading

opportunities at ground - floor level

• Amount and quality of public space… and active frontages.�

II-Institutional Framework

- Historical Background

- Early 1980s the first term cultural quarter in Pittsburgh andLexington, USA

- Late 1980’s in UK organizations such as the BritishAmerican Arts Association and the cultural consultancyComedia and others

- Other famous examples are:• Temple Bar in Dublin

• The Museums Quartier, Vienna

• Grand Opera House, Belfast

• Bolton Town Center Culture Quarter

II-Institutional Framework Cultural Quarter receives official designation as an

arts-district from City Planning Department orfrom the City Cultural Council

1- Management ModelsThere are several management models :

A- City Council Model: 1- Grand Opera House, Belfast

Arts Council example Arts Council of Northern Ireland, inconjunction with the Department for Education for theGrand Opera House, Belfast

II-Institutional Framework Cultural Quarter receives official designation as an

arts-district from City Planning Department orfrom the City Cultural Council

2- Sheffield Cultural Industries Quarter:• Establish in early 1999 CIQ (Cultural Industries Quarter)

Agency to promote and implement an agreed five-year period Development Strategy.

• A non-executive board with members from local businesses, the Science Park and Sheffield City Council

II-Institutional Framework (cont.)B- A development corporation: The Vienna Museums Quartier• A limited company with shareholders and is wholly owned through

a share distribution by the State government and the Vienna CityCouncil, the landowners.

• Planning, management and realization of investments to create theMuseums Quartier, including the acquisition of areas necessary forthe Museums Quartier.

• The acquisition, planning, preparation, organization and carryingout of exhibitions, events and leisure time programes.

• Advertising and PR as well as publications for the Quartier.• Visitor services by arranging visits of artistic

and educating events.• Running of an information service

II-Institutional Framework (cont.)• Other models of management:

• Property Owner Company,

• Non-profit organization,

• Arts District Committee,

• Downtown Development District Authority,

• Arts Commission (Indiana),

• Cultural alliance (Fairfield)

• Creative Industries Creative District Program (Colorado),

• Recreation and Parks Department,

• Art in Public spaces committee

III- Financial Framework

A- Funding

Sources of Funding for Cultural Districts include:

• Federal, State and Local Funds• Grants• Sponsorships• Income from special taxes (e.g: Business Improvement District

Incentives, Tax Increment Financing Overlays, Percent for ArtTax Revenue … etc.)

• Bank finance with state guarantee• Revenue generated from events and fundraisers (e.g: Lottery funds)

Financial Framework (cont.)B- Marketing- A Map/information kit denoting all places that could be visited in the

cultural quarter.- Electronic Billboards promoting the cultural venues of the CQ.- Joint promotional campaign for both Cultural quarter and the

touristic and/or cultural attraction(s) that the cultural quarter lieswithin its vicinity.

- Drawing up a successful portfolio of venues and facilities that willattract visitors.

- Engaging the community , businessmen, government officials, artistsand nonprofits for a collaboration and personal communication.

- A advisory committee meeting opened to the public, forming a boardof directors.

- A quarterly round table event for district businesses to discusscurrent issues, challenges and future needs.

IV- SWOT AnalysisStrengths:- Shared Vision

- Potential for strong culture image

- Location proximity to cultural places

- Accessibility via public transportation

-Clustering and Competitive-Willing-

Collaboration

- Mix of ‘park’, ‘culture’, and ‘culture

enterprise’ and culture environment

- Adopting a ‘Top-Down’ Approach for

Management

- Adequate Financial Resources

Weaknesses:- Lack of space

- Isolated/Lonely

-Fragment parties

- Possible potential conflict between ‘business

management’ and ‘artistic management’:

- Lack of shared vision between CQ participants

- High costs of rents or leasing for new tenants

- Adopting the ‘Bottom-Top’ Approach for

Management

IV- SWOT AnalysisOpportunities:-A stable inflow of International Tourists tothe City housing the Cultural Quarter-Culturally educated city population thatguarantees a stable flow of local tourists anda prolonged maintenance life for the CQ-A strong City economy allows and ensuresthe availability of city funds fordevelopment of the cultural quarter-Restructured government authorityoriented towards revenue generation, costsrecovery and management reinvention.

Threats:-Decline of International Tourism Flow due to theworld wide lack of security measures, terrorism,war, earthquake…etc.-Lack of financial resources: at least a proportionof the activity found in cultural quarters might wellrequire governmental support in order to survivein situ.-Failure of the CQ cultural enterprises to embracechange, new ideas and new ways of doing things .-The lack of specialized skills, technology andinfrastructure; and related and supportingindustries,

V- Cultural Quarters Success Indicators

- Offering year-long arts events and programming for residentsand tourists alike.

- A lot of participation and buy-in from the community,especially if the community sees it as part of their culture anddaily lives. When this comes from the bottom-up, withresidents and artists putting in the work to make it happen,this creates a more stronger sense of place than if thegovernment is simply doing so to attract tourists.

- Reduced Vacancy and crime rates.

- City is known for its district and visitors from other cities candrop in to visit the cultural district during their transit time inthe city housing the cultural district.

VI- Egypt Case Study:Egyptian Museum in Cairo versus Tahrir Square

Cultural Quarter Development Project

VI-Egypt Case Study:Egyptian Museum in Cairo versus Tahrir Square

Cultural Quarter Development ProjectThe Egyptian Museum in Cairo A-Description: - The museum is currently the largest museum in Egypt with the largest and

most extensive collection of pharoanic antiquities in the world in 107 halls.- The original collection was established in the late 19th century under

Auguste Marriette and housed in Boulaq. The objects were moved in 1891to the Palace of Ismail Pasha in Giza before being transferred in 1902 tothe current building in Tahrir.

- The Architect: Marcel Dourgnon has used a Neoclassical Style ofArchitecture.

- Size of collections on Display and in storage:160,000 artifacts dating from prehistoric through the Roman periods, withthe majority of collections focused on the pharaonic era (around 20% instorage) with Master pieces of Tut Ankh Amun collection (3500 artifacts ondisplay and 1500 artifacts in storage) in addition to the - Royal MummiesRoom.

VI-Egypt Case Study: Quarter Development Project (cont.)

Current and Future Outlook: - There is currently a sharp decline in tourists number visiting

Egypt generally speaking and particularly Egypt’s Antiquitiesand Museums.

- The complete Tut Collection together with selected masterpieces will be transferred to the New Grand Egyptian Museumnear the Giza Pyramids.

- The Cairo Egyptian Museum would be a Museum denoting thehistory of Art in Ancient Egypt.

- A piece of land; originally part of the land of the museum isnow available after the demolition of the National PartyBuilding of the Mubarak regime, to return back to museumownership.

Al- Ismaelia for Real Estate Investment was established

Prior to 2011, two plans were already under way torejuvenate downtown Cairo:A- In 2008, Al- Ismaelia for Real Estate Investment was established.B- The Strategic Development for Greater Cairo Region 2050.- Ismaelia is a consortium of Egyptian and Saudi investors, made up of

Egyptian billionaire Samih Sawiris (with a 35% share), Saudi privateequity firm Amwal El Khaleej, Saudi investor Sherief Suliman,Beltone private Equities and Egyptian investors Ahmed KhaledMostafa and Shahira Mahmoud.

- Upon its establishment in 2008, the company bought up the grandsetBelle Epoque buildings in downtown to rent out.

- The company purchased 21 buildings in the downtown core so far.- It aims to own around 10 percent of all downtown properties.

A- Al-Ismaelia for Real Estate Investment was established

-The Downtown Contemporary Arts Festival, an annual three weekevent launched in 2012, benefits from Ismaelia’s sponsorship and theuse of its properties as festival venues, including the old CabaretShehrezade.

-In 2016, Ismaelia provided around 10 percent of the festival funding;foreign embassies, councils and arts bodies covered the rest.

B- The Strategic Development Plan for Greater Cairo Region 2050

-A $3.5 million plan described as a cooperative effort between Ministry ofHousing, General Organization for Physical Planning (GOPP), UNDevelopment Programme (UNDP), UN Human Settlements Program(UNHSP), World Bank, the German Society for International Cooperationand the Japanese Government.

- 2050 plan is fixated on a Dubai-like negotiation of space, tourism, luxuryand neoliberal modernity and involves mega projects to modernize Egypt bydecentralizing densely populated neighborhoods in Cairo and relocatingthem to new suburban desert cities.

B- The Strategic Development Plan for Greater Cairo Region 2050

-It calls for the rarefaction of neighborhoods to downtown Cairo like RamletBoulaq, Ain Shams and Matareya, and construction of skyscrapers along theNile, as well as large gardens, ’open air museums’ and recreational parks.

-Ismaelia’s portfolio of Khedival Cairo monumental buildings was animportant part of the 2050 plan.

Egypt Case Study: How to implement the project

1- The bundling approach:A-Offering joint tickets for the museum and metro lines B-Offering promotional joint tickets that combine museum visit with having a

meal in one of downtown famous restaurants or adjoining a drink in one of its famous cafetrias and patesseries such as Groppie or The Americean.

C-Bundling a joint ticket for both museum visit and attending a movie in one of downtown famous cinemas

D-Offering a ticket package for museum visit with attending a theater show in the Opera house or Goumhorya National Theater

E-Issuing a museums and monuments card for downtown museums: Cairo Egyptian Museum, Abdeen palace Museum, MisrBanque Museum, Islamic Museum, Opera House Museum of Modern Art, National Bank Museum, Art galleries in Cairo downtown…etc..

*It is always advisable to include a metro ticket and an option for a meal or snack to attract Egyptians.

F-Issuing a family Museums and Monuments Card for Downtown area.

Egypt Case Study: How to implement the project

2-Carrying out an Intensive Promotional Campaign for both the Cairo museumand downtown Cairo; to be sponsored by major business players residing indowntown Cairo, including, among others:

A-Displaying electronic billboards out of the museum; at their fence territoryand in Tahrir square mainly about master pieces of the museum.

B-Conducting a poster campaign about the Cairo Museum in public areas suchas metro stations, public telephone and telegraph central stations; nationalbanks, public theaters…etc.

C-Convince private services outlets such as restaurants and cafeterias to printthe logo of the Cairo Museum on its customers’ invoices as a kind ofpromotion and possibly as a kind of promoting partial minimum donation ofthe value of invoice for the sake of the Cairo museum.

D-Encourage a lottery game initiation by Cairo down town residents for thesake of supporting Cairo museum under the notion of: we support ourterritory with part of the receipts going to support the museum.

Egypt Case Study: How to implement the project

E- Initiate a social Media Campaign for visiting the Cairo Museum aswell as landmarks of downtown Cairo under the notion of supportour heritage.

F- Initiate a comprehensive outreach program by major landmarkplayers in the down town Cairo i.e. Encourage the museum toactivate its outreach educational programs to Kasr Eleini hospitalpatients, to employees in major business institutions in the Cairodown town, possibly also to schools in Cairo down town, andforeign cultural centers.As the same time, encourage other major landmarks players such astheaters, museums, opera house … etc. to create educationaloutreach programs to the Cairo museum as well to each other.

Egypt Case Study: Prerequisites for Success

- The establishment of a volunteer organization to support efforts of thelandmark players in Cairo downtown.

- An important indicator which is ready to finance the volunteerorganization and its needs.

- The availability of a determine and visionary leadership for success.- The availability of finance or the eagerness to seek creative sources of

finance.- The motivation of groups of youth to support efforts especially when

it comes to distributing promotional materials or the use ofvolunteers.

- Non-conflicting objectives for both the Egyptian Museum in Cairoand the Ismaelia Real Estate Development Company.

- Allowing the Museum Director to be a board member in the companyand vice versa, the museum would call for a company representativeon its own board.

Egypt Case Study: Challenges for the future

1-The return of tourism to its normal rates as an indicator for thereturn of finance and funds to the Ministry of Antiquities

2-The decline of cultural illiteracy rate among Egyptians3-Management restructuring of Cairo Egyptian Museum to become

more administratively independent4-Moderating cooperation schemes between the Cairo museum and

the Ismaelia downtown Cairo real estate development companyin a smart and intelligent way to realize both sides objectives.

5-Government represented by local authorities of Cairogovernorate political support to any cooperation projectinitiative as well to any request for fulfilling infrastructure orfunds support.

Lessons Learnt 1- Establishing a semi-state independent company that is owned by

representatives of all stakeholders from the public and privatesector.

2- Board members should include representatives from public nationalcultural institutions located in the CQ to ease up cooperation andexchange of interests schemes.

3- Innovative funding mechanisms for marketing and maintenance withincentives for tax and normal sponsorship and donation efforts.

4- Marketing campaigns should be planned jointly by key stakeholdersin the CQ and in a way that every entity would reap its benefits.

5- Bundling Packages for services offered by more than one keycultural stakeholder player and at a discounted total price is highlyrecommended.

Lessons Learnt (cont.)6- Design the nature of key cultural institutions that should exist in the

CQ away to follow a top-down strategy approved by the localauthorities. The presence of a museum within a cultural quarter wouldbe an attractive gadget for pouring state funds or private funds forboth the museum and the cultural quarter.

7- The portfolio mix of key cultural institutions and business should bedivided between culture producers and culture support servicesoffering enterprises.

8- The cultural institutions in the CQ are recommended to be a mélangebetween public and private entities and enterprises.

9- The Culture Quarter should be designed to allow for integratedwalking streets for the public.

10-The Cultural Quarter in a city should be listed on the TourismPromotional Agenda for the whole country to allow for foreigntourism to visit the site upon its travel to the country.

Lessons Learnt (cont.)11-The State should allow for flexible opening hours for the

Culture Quarter institutions and enterprise residents to allowfor a continuous flow of tourists all day throughout thewhole week.

12-The state should provide for all infrastructure and publictransportation amenities to the Culture Quarter district.

13-The presence of a museum with national collections poses athreat of possible attacks for thefts or damage affecting thewhole cultural quarter area.

14-There is a potential of disputes and conflict of interest aboutrenting or leasing policies between national culturalinstitutions and the cultural quarter management company.

Thank you for your attentionReady for Questions

?adlaragab@tourism.gov.eg

Nar_hamdy@yahoo.com